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Drills for Dexterity

Excerpt from: Music Theory for the Bass Player ©2017 Ariane Cap All Rights Reserved.
TECHNIQUE BASICS

Preventing String Buzz


If you are getting string buzz, it is most likely due to
fingering too far from the fret. Your finger should be
just behind the fret (as seen from the bridge). If you play
right on the fret with a lot of pressure, you get a damp-
ening effect (which can be desirable, for example, for
certain styles of funk).

Excerpt from: Music Theory for the Bass Player ©2017 Ariane Cap All Rights Reserved.
Playing close to the fret

Playing too far from the fret and likely


producing string buzz
Permutation Exercises
These exercises are excellent for coordination and developing your chromatic movements.

Take any combination of the numbers 1–2–3–4 and move up the G string in half steps (start with 1 on
G#, 2 on A, 3 on A#, 4 on B, then move 1 to A and repeat). Move up the octave until your first finger is
on the double dot. Then walk backwards applying the same formula.

Exhaustive list of combinations:

1–2–3–4 2–1–3–4 3–1–2–4 4–1–2–3


1–2–4–3 2–1–4–3 3–1–4–2 4–1–3–2
1–3–2–4 2–3–1–4 3–2–1–4 4–2–1–3
1–3–4–2 2–3–4–1 3–2–4–1 4–2–3–1
1–4–2–3 2–4–1–3 3–4–1–2 4–3–1–2
1–4–3–2 2–4–3–1 3–4–2–1 4–3–2–1
Variations:
r1SBDUJDFUIFTFGPSNVMBTVTJOHIBNNFSPOTBOEQVMMPGGT
r%PUIFTFFYFSDJTFTBDSPTTEJGGFSFOUTUSJOHT GPSFYBNQMFmPO(TUSJOH mPO%NPWJOHVQ UIFO
the same with D and A strings, A and E strings. If you are adventurous, try these permutations
across the G and D strings or even the G and E strings).

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Excerpt from: Music Theory for the Bass Player ©2017 Ariane Cap All Rights Reserved.
CHAPTER 12

String Crossing Exercise


When practicing various technical exercises or playing songs, you will come across a string jump that
is a bit hard to execute at first; this is the movement from one string to an adjacent one (or one farther
away) on the same fret. When you encounter this jump, pay attention to play as legato (smoothly) as
possible. In order to execute precise legato, you need to learn to have your finger push down a note
and move to the next string without bending the first string. In other words, while the note is sound-
ing, your finger presses and inches its way to the next string. Do not barre two strings or kink your
fingers.

This shift between strings becomes easier when you lift your finger just enough to be able to slide
it to the next string. You never leave the strings; rather, your finger keeps touching the strings. The
descending version is harder than ascending — practice it carefully. In order to stop yourself from
barring two strings, play fourths across all four strings. Practice with each finger. You’ll find it easier
with fingers 1 and 2; harder with 3 and 4.

First finger presses at the fret and, while doing so, moves
toward its next aim — the same fret on the following string.
The flatter (straighter) you position your finger, the more
you will be able to connect the notes.

Be careful not to bend the string. If you press too hard while
moving toward the next string, your intonation will suffer.

1 2 3 4
Practicing crossing frets with each finger. Also, try
1 2 3 4
reversing the direction of the arrows.
1 2 3 4

1 2 3 4

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Excerpt from: Music Theory for the Bass Player ©2017 Ariane Cap All Rights Reserved.
TECHNIQUE BASICS

Positioning of the Right Hand Thumb on the Bass


Rest the thumb of the right hand on either the low string, a thumb rest, or the pickup. For a resting
thumb, I recommend not getting attached to a thumb rest or pickup, mainly because the bass sounds
very different when plucked more towards the neck (jazzy) versus closer to the bridge (funky). Experi-
ment and find your favorite sounds for the various styles you play.

Another advantage of not resting the thumb exclusively on the pickup or a thumb rest is that the
thumb can multi-task as a muting device to keep unwanted string ring at bay.

On a five- or six-string, try resting your thumb on the low E


while also touching (muting) the low B. When playing the G or
C strings you can use your ring finger to mute the A string.

Plucking for Good Tone


When you pluck a note, pluck into the bass, toward the
body. This is the opposite direction to what a classical
guitar player might do, which is more a rolling motion
towards the palm of your hand (however, this is useful
when playing chords on the bass). This motion starts
slightly under the string and pulls upward, similar to
how a classical guitarist would pluck chords and arpeg-
gios. As a bass player grooving with a drummer, you
want to produce a fat, juicy and powerful tone. Pluck
towards the body, and let the next string stop your
Plucking bass grooves motion. Start slightly above the string and pull the note
through to the next string in one single quick stroke.
Resting on the string during this motion before you
pluck produces a slight double attack that can disrupt
the clarity of your tone, especially in the studio.

Plucking classical guitar style

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Excerpt from: Music Theory for the Bass Player ©2017 Ariane Cap All Rights Reserved.


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